HENNER 


MASTERPIECES 

IN  COLOVR 


GIFT  OF 

Willitts    J.   Hole 


MASTERPIECES 
IN     COLOUR 

EDITED    BY     -     - 
M.  HENRY    ROUJON 


HENNER 

(1829-1905) 


IN  THE  SAME  SERIES 


REYNOLDS 

VELASQUEZ 

GREUZE 

TURNER 

BOTTICELLI 

ROMNEY 

REMBRANDT 

BELLINI 

FRA  ANGELICO 

ROSSETTI 

RAPHAEL 

LEIGHTON 

HOLMAN  HUNT 

TITIAN 

MILLAIS 

LUINI 

FRANZ  HALS 

CARLO  DOLCI 

GAINSBOROUGH 

TINTORETTO 

VAN  DYCK 

DA  VINCI 

WHISTLER 

RUBENS 

BOUCHER 

HOLBEIN 

BURNE-JONES 


LE  BRUN 

CHARDIN 

MILLET 

RAEBURN 

SARGENT 

CONSTABLE 

MEMLING 

FRAGONARD 

DURER 

LAWRENCE 

HOGARTH 

■WATTEAU 

MURILLO 

WATTS 

INGRES 

COROT 

DELACROIX 

FRA  LIPPO  LIPPI 

PUVIS  DE  CHAVANNES 

MEISSONIER 

GEROME 

VERONESE 

VAN  EYCK 

FROMENTIN 

MANTEGNA 

PERUGINO 

ROSA  BONHEUR 


PLATE    I.  — THE    LITTLE    GIRL   WITH    THE    BLUE   RIBBON 

(Petit  Palais  des  Beaux-Arts) 

This  little  portrait,  charmingly  delicate  and  delightful  in  colour- 
ing, belongs  to  the  first  period  of  the  painter's  life.  None  the  less, 
it  is  remarkable  in  execution  and  in  truth. 


HENNER. 

BY     FR.     CRASTRE 

TRANSLATED     FROM     THE     FRENCH 
BY     FREDERIC     TABER     COOPER 

ILLUSTRATED      WITH       EIGHT 
REPRODUCTIONS     IN     COLOUR 


FREDERICK    A.    STOKES    COMPANY 
NEW  YORK  —  PUBLISHERS 


•  B  •••       •        •       • 

•  •      •  •       •     «  • 


COPYRIGHT,    igi3,    BY 
FREDERICK    A.    STOKES    COMPANY 


Printed  in  the  United  States  of  Am  erica 


« • 


A/P 


CONTENTS 

Page 

The  First  Years i8 

The  Arrival  at  Paris 29 

The  Years  in  Rome 37 

The  Works  of  Henner 44 

The  Portrait  Painter 72 


Vll 


4(;3376 


1 


LIST   OF   ILLUSTRATIONS 

Plate 

I.     The  Little  Girl  with  the  Blue  Ribbon         Frontispiece 

Petit  Palais  des  Beaux-Arts 

II.     The  Reclining  Nymph 14 

Luxembourg  Museum 

III,  Portrait  of  Mile.  L 24 

Luxembourg  Museum 

IV.  The  Little  Writer 34 

Petit  Palais  des  Beaux-Arts 

V.     Bara 40 

Petit  Palais  des  Beaux-Arts 

VI.     The  Comtesse  Diana 50 

Luxembourg  Museum 

VII.     The  Naiad 60 

Luxembourg  Museum 

VIII.     The  Magdalen  with  the  Crucifix         ...       70 

Petit  Palais  des  Beaux-Arts 


iz 


^T>HERE  is  no  one  who  has  not  chanced,  sooner 
or  later,  to  pass  the  window  of  some  picture 
dealer  and  find  himself  irresistibly  attracted  by  a 
canvas  forming  a  patch  of  fluid  gold,  a  luminous 
vapour  bathing  the  white  body  of  a  woman,  white 
with  that  rich,  warm  whiteness  that  reveals,  through 
the  transparency  of   the  skin,   the  inner  flame,   the 

XX 


12  HENNER 

bounding  blood,  the  pulsing  life.  Such  a  picture  was 
a  Henner.  And  when  you  have  come  into  contact, 
if  only  for  once,  with  a  work  by  this  incomparable 
artist,  the  effect  is  lasting;  you  recognize  any  and 
all  of  his  works  at  the  first  glance,  just  as  you  recog- 
nize a  friend  in  the  street,  even  before  he  is  near 
enough  for  you  to  distinguish  his  features.  So  per- 
sonal is  Henner's  manner,  and  so  original  his  prod- 
uct, that  it  is  impossible  to  confound  him  with  any 
other  painter,  just  as  no  other  painter  has  ever  been 
able  or  even  attempted  to  imitate  a  type  of  which  he 
alone  possessed  the  magic  secret.  Although  the  tomb 
has  barely  closed  above  him,  Henner  has  already 
entered  upon  his  heritage  of  glory.  Or  should  we 
not  rather  say  that  he  had  entered  upon  it  during 
life,  and  that  the  unanimity  of  admiration  which 
always  followed  him  was  in  the  nature  of  a  defini- 
tive judgment,  which  posterity  has  nothing  left  to 
do  but  ratify?  Among  the  most  illustrious  of  our 
modern  painters,   Henner  is  the  one  who  possesses 


PLATE    II.  — RECLINING    NYMPH 
(Luxembourg  Museum) 

In  accordance  with  Henner's  favourite  formula,  the  dazzling  white- 
ness of  the  nymph's  body  acquires  an  astonishing  relief  through 
contrast  with  the  sombre  verdure,  yet  even  the  very  shadows  are 
penetrated  by  a  warm  and  vibrant  light. 


HENNER  15 

to  the  highest  degree  the  art  of  imprisoning  light, 
of  playing  with  it,  of  making  it  vibrate,  of  using 
it  to  illumine  the  most  profound  woodland  shades, 
or  to  set  it  palpitating  over  feminine  flesh.  We 
must  not  seek  within  our  own  times  for  any  other 
with  whom  to  compare  him;  for  this  we  must 
look  backward,  far  backward,  to  the  period  of 
that  glorious  Venetian  school  of  which  he  seems 
to  be  a  direct  product.  From  Giorgione  he  de- 
rives his  warm  and  living  flesh  tints;  it  would 
seem  that  Titian  had  bequeathed  to  him  his  pro- 
found and  powerful  mastery  of  colour;  and  if 
Correggio  could  see  the  Nymphs  and  Bathing 
Women  of  Henner,  he  would  certainly  recognize 
in  them  that  same  velvety  delicacy  and  vaporous 
lightness  with  which  he  himself  was  wont  to  en- 
velop his  female  forms. 

For  Henner  was,  above  all  else,  a  painter  of 
women.  "It  was  in  the  female  form  that  he 
sought    and    found   perfect   Beauty,   complete,   indis- 


i6  HENNER 

put  able,  and  undisputed,  a  victorious,  compelling 
Beauty  that  silences  all  criticism,  all  indecision  by 
its  multifold  splendour,  the  infinite  variety  of  its 
complex  forms,  a  Beauty  embodied  in  contrast, 
harmony,  charm,  freshness,  and  grace,  but  with 
no  element  of  the  merely  pretty  or  fantastic." 
Henner's  women  are  without  affectation,  or  mor- 
bidness, or  coquetry,  or  pretence.  They  are  tall, 
strong,  supple,  stately,  superb,  like  the  antique  type 
itself.  Their  beauty  is  without  a  flaw.  Their  flesh 
is  steeped  in  light,  their  hair  a  tissue  of  living 
radiance.  Such  is  the  clue  to  their  irresistible 
seductiveness. 

It  has  been  said  of  Henner  that  he  was  the  painter 
of  blondes.  He  was  more  especially  the  painter  of 
the  red-blonde  type,  for  the  reason  that  light,  falling 
upon  the  ruddy  glint  of  their  tresses,  awakens  flame- 
like reflections  and  emphasizes  the  satiny  grain  of 
their  skin.  This  tawny,  golden  sheen  is  the  most 
alive,  the  most  vibrant,  yet  the  most  unobtrusive  of 


HENNER  17 

all,  and  consequently  the  most  harmonious  and  the 
most  beautiful.  But  Henner  also  painted  brunettes 
with  an  incomparable  mastery;  to  be  convinced  of 
this,  one  needs  only  to  refer  to  any  of  the  in- 
numerable portraits  of  dark-haired  women  that 
have  come  from  his  brush,  notably  those  of  Mme. 
Noetzlin,  of  Mme.  Duchesne-Foumes,  of  the  Com- 
tesse  de  Jacquemont,  and  that  of  Mme.  Karakehia 
which  produced  such  a  marked  sensation  in  the 
Salon  of  1876. 

While  adhering  to  his  own  strongly  personal  man- 
ner, Henner  nevertheless  experimented  in  the  most 
diverse  types  of  painting,  as  we  shall  see  in  the  course 
of  the  present  study,  and  he  was  excellent  in  all  of 
them,  because  he  brought  to  them  all  those  masterly 
qualities  which  make  the  greatness  of  a  painter: 
impeccable  line-work,  a  powerful  command  of  colour, 
and  a  perfect  knowledge  of  his  art  acquired  through 
the  constant  pursuit  of  beauty  and  of  truth. 


i8  HENNER 

THE    FIRST   YEARS 

Jean- Jacques  Henner  was  bom,  on  the  15th  of 
March,  1829,  in  the  village  of  Bernwiller,  not  far 
from  Belfort,  on  the  confines  of  Alsace. 

This  origin  explains  the  strongly  personal  charac- 
ter of  his  talent.  Offspring  as  he  was  of  a  land  that 
once  was  German,  —  and  that,  alas,  has  once  again 
become  so,  after  having  been  impregnated  for  several 
centuries  with  the  refinement  and  the  good  taste  of 
France,  —  Henner  unites  in  himself  the  dominant 
qualities  of  both  races:  from  Germany  he  derives 
his  laborious  energy,  his  tenacity,  his  spirit  of  re- 
search, his  poetic  dreaminess;  to  the  French  imprint 
he  owes  the  delicacy,  the  good  taste,  the  grace,  the 
subtlety,  the  careful  weighing  of  effects,  that  dis- 
tinguish all  his  work. 

Jean- Jacques  Henner  was  the  youngest  child  of 
a  numerous  family.  His  parents  were  modest  tillers 
of  the   soil,  who  nevertheless  had  won   the  general 


HENNER  19 

esteem  of  the  neighbourhood.  Of  Httle  education, 
but  honest  and  industrious,  Henner's  father  was 
rewarded  for  his  integrity  and  blameless  life  by  being 
appointed  to  the  office  of  village  tax  collector.  With 
as  little  learning  as  her  husband,  his  mother  pos- 
sessed a  dreamy  spirit  and  a  very  keen  intelligence. 
It  was  she  who  first  discerned  in  the  thoughtful  and 
rather  backward  boy  the  germs  of  his  future  talent; 
it  was  also  she  who  encouraged  and  sustained  him 
with  her  wise  affection  when  the  first  promise  of  his 
future  talent  was  revealed. 

His  vocation  manifested  itself  at  an  early  age. 
Little  Jean-Jacques  could  barely  read  when  he  had 
already  begun  to  adorn  the  walls  with  charcoal  figures 
that  "fairly  stood  on  their  feet,"  and  proved  that 
the  child  possessed  a  precocious  power  of  observa- 
tion. In  some  of  these  sketches  it  was  easy  to  recog- 
nize certain  frequent  visitors  to  the  house,  friends 
and  neighbours;  and  the  good-hearted  villagers  used 
to  come  and  admire  these  attempts.     Quite  surprised 


20  HENNER 

at  these  proclivities,  his  father,  instead  of  interfering 
with  the  boy's  natural  bent,  did  his  best  to  encourage 
it.  Being  unable  to  provide  him  with  a  drawing- 
master,  —  and  for  that  matter  the  child  was  still 
too  young,  —  he  supplied  him  with  models,  in  the 
shape  of  the  familiar  Epinal  coloured  prints  which 
little  Jean-Jacques  tried  to  reproduce  to  the  best 
of  his  ability.  It  certainly  was  not  through  the  aid 
of  these  naive  and  rudimentary  essays  in  colour  work 
that  Henner  learned  the  art  of  drawing,  but  they 
at  least  served  to  strengthen  his  desire  to  learn,  and 
gave  him  facility  in  handling  his  pencil. 

The  father  of  little  Jean- Jacques  served  him  as 
best  he  could;  it  was  he  who  laid  the  corner-stone 
of  his  son's  future  glory.  In  that  humble  household, 
where  each  member  had  his  appointed  task,  from  the 
father  down  to  the  frailest  child,  Jean-Jacques  was 
the  only  one  who  took  no  part  in  the  labour  of  the 
fields;  he  was  exempted  in  order  to  continue  his 
education  and  develop  his  taste  for  drawing. 


HENNER  21 

Even  the  neighbours,  astonished  at  his  precocity, 
aided  him  as  best  they  could.  One  brought  paper, 
another  an  old  picture,  another  some  prints  found 
in  an  out-of-the-way  corner  of  the  house,  still  another 
a  supply  of  paints.  Thus  equipped,  the  child  worked 
with  unflagging  zeal,  undertook  to  learn  the  use  of 
colours,  and  in  order  to  repay  his  benefactors,  he 
made  portraits  of  them,  which  are  still  preserved  in 
those  Alsatian  households  and  which  already  reveal, 
in  more  than  one  of  those  likenesses  that  he  always 
caught  so  well,  the  first  germs  of  those  qualities  of 
a  great  portrait  painter,  such  as  he  was  one  day 
destined  to  become. 

"You  will  be  a  great  artist,"  his  father  used  to 
say,  as  he  kissed  him;  for  the  good  man  foresaw, 
almost  by  divination,  the  glorious  destiny  that  awaited 
his  son.  And  addressing  his  other  sons,  all  of  them 
older  than  little  Jean-Jacques,  and  all  of  them  destined 
to  pass  their  days  in  the  hard  labour  of  tilling  the 
soil,  he  told  them: 


22  HENNER 

**When  I  am  no  longer  here,  I  commend  your 
brother  to  you.  Aid  him  and  sustain  him.  Help 
him  to  achieve  his  career.  You  will  be  repaid  for 
it;  this  I  promise  you,  in  the  name  of  the  good  God." 

The  brothers  carried  out  piously  and  to  the  letter 
these  commands  of  their  father;  while  Henner,  for 
his  part,  promised  himself  to  fulfil  his  share  of  the 
bargain.  He  never  forgot  what  he  owed  to  his  older 
brothers;  and  he  paid  them  back  a  hundredfold  for 
all  the  benefits  that  he  had  received. 

At  the  age  of  seven,  young  Henner  was  required 
to  go  to  church  every  day  for  the  purpose  of  learn- 
ing his  catechism.  In  the  chapel  where  the  good 
cure  of  Bernwiller  expounded  the  doctrine,  there 
happened  to  be  a  picture  representing  St.  Sebastian. 
This  picture  attracted  the  attention  of  the  child 
irresistibly  and  was  the  cause  of  many  moments  of 
inattention  which  brought  upon  him  the  paternal 
rebukes  of  the  priest.  It  was  wasted  severity.  Little 
Jean -Jacques    had    eyes    for   nothing    else    than    the 


PLATE   III.— PORTRAIT   OF    MLLE.   L. 
(Luxembourg  Museum) 

This  is  one  of  the  most  curious  portraits  painted  by  the  artist  in- 
asmuch as  it  attains  a  maximum  of  perfection  in  spite  of  a  combi- 
nation of  the  most  unfavourable  possible  means.  Notwithstanding 
the  sombre  garments  that  barely  stand  out  against  the  dull  blue 
background,  the  face  reveals  an  extraodinary  intensity  of  life. 


HENNER  25 

saint,  whose  widely  gaping  shirt  revealed  the  muscu- 
lar throat  and  hairy  chest;  and  he  continued  to  stare 
at  their  robust  anatomy  which  so  strongly  resembled 
that  of  the  peasants  whom  he  saw  all  about  him  in 
the  village. 

By  a  singular  coincidence,  this  painting  in  by-gone 
days  once  reposed  for  quite  a  long  time  in  the  home 
of  his  grandfather,  where  Henner  himself  was  born. 
An  architect  named  Kleber,  and  destined  to  become 
later  a  famous  general,  was  occupied  in  building  the 
parish  house  in  one  of  the  neighbouring  villages  to 
Bemwiller.  Coming  by  chance  to  Bernwiller,  he 
saw  the  painting  of  St.  Sebastian,  which  he  found 
had  been  greatly  impaired  by  age.  He  took  steps 
to  obtain  its  restoration  and,  while  waiting  for  the 
appointed  artist  to  arrive  from  Strassburg,  he  had  it 
transferred  to  the  house  of  Henner's  grandfather.  It 
was  there  that  the  artist  from  Strassburg  repaired 
the  painting,  and  it  would  almost  seem  as  though 
there  were  some  sort  of  obscure  connection  between 


26  HENNER 

this  fact  and  the  powerful  impression  which  the  pic- 
ture produced  upon  the  mind  of  little  Jean- Jacques, 
and  as  though  it  were  a  sort  of  secret  bond  between 
the  glory  of  the  great  warrior  and  that  of  the  great 
painter. 

A  little  later,  young  Henner  was  sent  to  attend 
school  at  Altkirch.  Not  however  in  the  capacity  of 
a  boarding  pupil,  for  the  family  did  not  have  the 
means.  Every  day  he  had  to  cover  on  foot  the  two 
hours'  journey,  in  order  to  reach  school,  and  the  same 
to  return.  But  the  child  possessed  the  sacred  fire: 
the  kilometres  seemed  to  him  no  more  than  a  pleasant 
walk. 

As  good  luck  would  have  it,  the  school  at  Altkirch 
possessed  a  drawing-master,  named  Goutzwiller,  an 
artist  of  real  talent.  He  quickly  divined  the  possi- 
bilities of  his  new  pupil,  encouraged  him,  grounded 
him,  and  became  a  true  friend  and,  in  a  certain  sense, 
a  second  father  to  him. 

After  three  years  of  study  at  this  school,  Henner 


HENNER  27 

left  Altkirch,  in  accordance  with  M.  Goutzwiller's 
advice,  in  order  to  go  to  Strassburg,  where  he  entered 
the  studio  of  the  artist,  Guerin.  Here  it  was  that 
he  exchanged  the  pencil  for  the  brush.  From  his 
first  attempts  he  manifested  a  pronounced  taste  for 
oppositions  of  shadow  and  light,  the  latter  acquiring 
greater  vigour  by  force  of  contrast.  Henner's  first 
attempt  at  Strassburg  was  a  copy  of  Heim's  Shep- 
herd, the  original  of  which  was  burned  in  1870,  at 
the  time  of  the  fire  resulting  from  the  bombardment. 
But  the  copy  remains,  and  bears  witness  to  the 
painter's  early  love  for  sombre  backgrounds,  shot 
through  with  shimmerings  of  light. 

During  his  vacations,  which  were  passed  at  Bern- 
wilier,  Henner  paid  numerous  visits  to  Basle  and  to 
Colmar,  where  he  went  for  the  purpose  of  studying 
the  old  German  masters,  Holbein,  Schongauer,  and 
Diirer.  Holbein  especially  delighted  and  inspired 
him:  he  loved  his  honest,  firm,  frank  line-work,  no 
less   than   he   appreciated    the    spirit   of  poetry   with 


28  HENNER 

which  the  early  master  imbued  all  his  models.  What 
a  schooling  for  a  painter  really  enamoured  of  his 
art!  In  this  ardent  study  of  Holbein,  Henner  con- 
firmed the  opinion,  that  had  already  taken  shape 
in  his  mind,  that  there  is  no  good  painting  where 
there  is  not  good  drawing,  and  that  no  one  has  the 
right  to  claim  to  be  a  painter  if  he  cannot  lay  his 
colours  upon  a  solidly  built  foundation.  The  crafts- 
man must  always  precede  the  artist. 

In  the  case  of  Henner,  at  this  time,  the  crafts- 
manship was  perfect;  nothing  remained  but  to  open 
a  career  for  the  artist.  The  young  painter  had  faith, 
courage,  and  ambition;  he  dreamed  of  continuing 
his  studies,  of  perfecting  himself,  of  having  other 
teachers.  But  these  teachers  were  precisely  what 
Strassburg  could  not  furnish;  and  Paris,  the  great 
city,  the  centre  of  learning  and  of  art,  Paris  was  not 
far  distant.  What  joy,  if  he  could  only  go  there! 
At  this  juncture,  Guerin  died.  Having  lost  his  mas- 
ter,   Henner    had    nothing    else    to    detain    him    in 


HENNER  29 

Strassburg.  Accordingly,  he  put  his  trust  in  Provi- 
dence, and,  with  his  heart  pulsing  with  hope,  started 
on  his  way  to  the  capital. 

HIS   ARRIVAL    IN    PARIS 

Henner  arrived  in  Paris,  light  of  purse  but  full 
of  courage.  He  presented  himself  at  the  studio  of 
Drolling,  a  compatriot,  where  he  proceeded  to  toil 
like  a  galley-slave.  In  order  to  subsist,  he  gleaned 
here  and  there  a  little  something  by  painting  por- 
traits; but,  alas,  these  were  rare  and  wretchedly 
underpaid!  They  by  no  means  brought  him  a  liv- 
ing; he  experienced  the  keenest  privations,  and 
before  long  was  unable  to  pay  his  monthly  contri- 
bution of  twenty  francs  towards  the  rental  of  the 
studio.  What  was  he  to  do?  Drolling  was  an  artist 
with  a  big  heart,  and  he  loved  his  young  pupil:  Henner 
had  only  to  confide  in  him,  but  he  was  too  proud  to 
admit  his  poverty.  Should  he  appeal  to  his  brothers? 
He  did  not  even  dream  of  doing  so,  for  he  knew  how 


30  HENNER 

hard  they  found  it,  back  there  at  home,  to  make 
both  ends  meet,  even  though  they  turned  and  returned 
the  natal  soil  without  respite.  Accordingly,  he  chose 
the  heroic  part  of  returning  to  Alsace.  There  he 
passed  the  next  two  years,  painting  portraits  and  de- 
priving himself  even  of  necessities  in  order  to  econo- 
mize and  save  up  a  fund.  When  his  savings  seemed 
to  him  sufficiently  large,  he  set  forth  once  more  for 
Paris  and  returned  to  Drolling.  The  latter  was 
stupefied  at  the  progress  Henner  had  made. 

"But  why,"  he  demanded,  "why  did  you  leave 
the  studio  like  that,  without  a  word  of  warning? " 

Hereupon  Henner  confessed  the  cause  for  his  de- 
parture; and  on  hearing  his  story,  the  tears  rose  up 
in  the  kind  old  artist's  eyes,  while  at  the  same  time 
he  grew  red  with  anger: 

"People  don't  do  such  things,"  he  said,  "and 
they  don't  show  false  pride  when  they  have  a  talent 
like  yours;  but  instead,  they  compete  for  the  Prix 
de  Rome,  and  they  win  it!" 


HENNER  31 

The  Prix  de  Rome!  A  dream,  which  perhaps 
Henner  had  already  vaguely  glimpsed,  but  the 
realization  of  which  seemed  to  him  at  that  time 
too  audacious  and  chimerical!  That  he,  the  little 
painter  from  Alsace,  friendless  and  unknown,  might 
obtain  this  supreme  distinction  which  proclaims  a 
talent!  He  did  not  dare  to  believe  it,  and  yet  his 
old  master.  Drolling,  was  an  authority  in  art  and 
not  prodigal  of  his  praise.  Drolling  did  even  better 
than  encourage  Henner,  he  made  use  of  his  friend- 
ship with  the  prefect  of  the  department  of  the 
Lower  Rhine  to  obtain  an  annuity  for  him.  At 
the  request  of  this  official,  the  general  council  of 
the  department  granted  Jean-Jacques  Henner  an 
annual  pension  of  five  hundred  francs.  This  was 
very  little,  no  doubt,  but  at  least  it  meant  his 
daily  bread! 

Henner  never  had  the  pleasure  of  thanking  Droll- 
ing; a  rapid  illness  ended  the  life  of  the  aged  master 
in   a   few   days,    before   the   matter   in   question   had 


32  HENNER 

been  adjusted;  but  the  young  artist  always  retained 
a  grateful  memory  of  him. 

While  awaiting  the  Prix  de  Rome,  it  was  neces- 
sary to  earn  a  living:  for,  as  may  easily  be  imagined, 
the  meagre  subsidy  of  five  hundred  francs  could  not 
suffice  for  all  of  Henner's  needs.  He  had  the  good 
luck  to  make  the  acquaintance  of  a  painter  who 
worked  mainly  for  Americans.  He  was  a  portrait 
painter  and  possessed  a  numerous  clientele  from 
Yankee-land.  As  he  could  not  keep  up  with  the 
demand  single-handed,  he  made  a  proposition  to 
Henner  that  the  latter  should  paint  the  coats,  cravats, 
and  linen  of  his  "puppet-show,"  as  he  called  them, 
reserving  for  himself  the  task  of  putting  in  the  faces, 
mistrusting,  no  doubt,  the  competence  of  his  collabo- 
rator. However  humble  the  work,  Henner  accepted 
gratefully,  for  it  enabled  him  to  better  his  lot,  to  put 
aside  a  reserve  fund,  and  even  to  come  to  the  aid  of 
the  family  left  at  home. 

Shortly  afterwards,  he  won  a  medal  from  the  Ecole 


PLATE    IV.  — THE    LITTLE   WRITER 
(Petit  Palais  des  Beaux-Arts) 

This  unkempt  but  earnest  little  worker,  diligently  bending  over 
his  copy-book,  is  a  portrait  of  the  artist's  own  nephew.  This  pic- 
ture for  a  long  time  adorned  the  wall  of  his  studio  in  the  Place 
Pigalle. 


HENNER  35 

des  Beaux-Arts,  which  gave  him  the  right  of  free 
admission  to  the  studio  of  the  artist  Picot. 

Henner  was  at  this  time  twenty-seven  years 
of  age.  He  felt  that  he  was  now  ready  to  enter 
the  Hsts  for  the  Prix  de  Rome.  Boldly  he  set 
himself  to  his  task.  The  subject  assigned  was  as 
follows:  Adam  and  Eve  Discovering  the  Body  of  Abel. 
Henner 's  conception  of  the  subject  was  admirable. 
Abel  stretched  at  length  under  the  shadow  of  dense 
foliage,  and  beside  him,  on  her  knees  and  heart- 
broken with  grief,  Eve  suffers  the  terrible  blow  of 
divine  malediction,  while  Adam,  standing  petrified 
with  horror,  seems  not  yet  to  have  realized  the  im- 
mensity of  his  loss. 

In  this  painting,  the  manner  which  is  destined  to 
become  distinctive  of  this  artist  declares  itself:  a 
luminous  profundity  of  landscape  that  emphasizes 
the  whiteness  of  Abel's  flesh.  Although  satisfied 
with  his  work,  Henner  was  doubtful  of  the  result. 
He  trembled,  for  he  had  staked  his  entire  future  upon 


36  HENNER 

this  picture.  But  he  found  unexpected  encourage- 
ment from  the  little  model  who  had  posed  for  him 
and  his  competitors,  in  the  character  of  Abel. 

''Have  no  doubt  about  it,"  the  child  told  him, 
"you  will  win  the  prize.  None  of  the  others  can 
compare  with  yours." 

And  Henner,  only  too  glad  to  believe,  went  to 
work  with  redoubled  zeal,  to  justify  the  admiration 
of  his  little  model.  His  composition,  however,  when 
finished,  proved  to  be  incomplete:  he  had  forgotten 
to  include  the  club  which  Cain  had  used  to  strike 
down  Abel.  At  th6  last  moment  he  added  this 
accessory  so  dexterously  that  the  arrangement  of 
the  picture  as  a  whole  was  undisturbed. 

There  was  no  discussion  regarding  the  bestowal 
of  the  prize.  Henner  was  unanimously  declared  the 
winner. 

It  is  easy  to  imagine  Henner's  joy.  Nevertheless 
a  shadow  dimmed  it:  that  of  not  having  been  able 
to  give  his  mother  the  final  consolation  of  his  triumph. 


HENNER  37 

That  worthy  and  courageous  woman  died  but  shortly 
before,  blessing  and  encouraging  him  almost  with 
her  final  breath. 

THE   YEARS    IN    ROME 

Rome,  that  prodigious  repository  of  art!  with 
what  reverential  admiration  the  young  artist  ap- 
proached her!  What  fascinated  him  from  the  start, 
offspring  that  he  was  of  fair  and  undulating  Alsace, 
was  the  Roman  Campagna  with  its  violent  con- 
trasts, its  wide  expanses  ablaze  with  sunlight,  cleft 
here  and  there  with  dense  shadows,  profound  and 
nevertheless  luminous.  Here  before  his  eyes,  within 
reach  of  his  palette,  was  not  this  the  ideal  land- 
scape, such  as  his  artistic  instinct  had  taught  him 
to  prevision?  Shadow  and  light  clashing,  inter- 
penetrating, in  order  to  form  an  imponderable  and 
luminous  dust,  the  light  vivifying  the  shadow,  the 
shadow  sifting  out  the  crudities  of  the  light,  — 
picture   his  joy    at    having   foreseen    all   this  instinc- 


38  HENNER 

lively,  without  having  seen  it,  solely  by  his  artistic 
intuition ! 

The  five  years  which  he  passed  in  Rome  were 
one  perpetual  enchantment.  The  proof  of  this  is 
found  in  his  correspondence  with  M.  Goutzwiller, 
his  first  drawing-master,  who  remained  his  best 
friend.  One  receives  the  impression,  in  reading  it, 
that  he  lived  in  a  continuous  ecstasy,  in  a  world 
of  fairyland. 

And  with  what  admiration  and  reverence  he 
speaks  of  the  great  masters!  How  he  loves  them, 
and  how  well  he  understands  the  prodigious  great- 
ness of  certain  ones  among  them!  The  Venetians 
especially,  those  incomparable  colourists,  fired  his 
ardour.  He  went  to  Venice,  in  order  to  worship  them 
on  the  spot,  in  the  presence  of  their  works.  But  he 
was  without  prejudice;  his  taste  was  eclectic,  like 
his  own  talent.  His  love  for  Titian  and  Giorgione 
did  not  prevent  him  from  valuing  Raphael  and  Leo- 
nardo   da    Vinci.     He    loved    them    all,    because   he 


PLATE   v.  — JOSEPH    BARA 
(Petit  Palais  des  Beaux-Arts) 

This  subject,  consecrated  to  the  glory  of  the  young  hero  of  the 
Revolution,  had  already  been  magnificently  treated  by  David;  none 
the  less,  Henner's  Bara  is  not  inferior  to  the  other,  and  if  perhaps 
it  inspires  a  less  degree  of  pity,  there  is  something  truly  dramatic 
in  the  outstretched  body,  under  the  lowering  sky. 


HENNER  41 

understood  them  all  and  because  in  each  one  of  them 
he  recognized  the  marvellous  gift  of  genius.  But 
none  the  less  he  had  one  preference,  and  he  could 
avow  it  unashamed,  for  its  object  was  one  of  the  most 
extraordinary  of  all  masters  of  design  and  colour: 
Correggio.  Everything  in  the  work  of  that  admirable 
artist  fascinated  him;  his  dexterity,  which  verges 
upon  the  miraculous,  his  prodigious  foreshortenings, 
the  magic  of  his  palette,  and  above  all  his  mastery  of 
chiaroscuro,  which  no  other  artist,  not  even  Rem- 
brandt, has  surpassed.  This  time  Henner  had  found 
his  true  master,  the  one  with  whom  he  was  destined 
to  impregnate  himself  permanently,  as  regards  the 
harmonious  distribution  of  lights  and  shades. 

When  he  awoke  from  his  contemplation  of  Cor- 
reggio, it  was  in  order  to  shut  himself  into  his  studio 
and  feverishly  endeavour  to  recapture  with  his  own 
brush  those  exquisite  colour  tones  that  still  dazzled 
his  vision  and  possessed  his  spirit.  What  amazed 
him  above  all  was  the  simplicity  of  means  employed 


42  HENNER 

by  the  great  masters  to  obtain  all  their  effects,  even 
those  that  seem  the  most  complicated.  **See,"  he 
said,  "they  have  on  their  palettes  only  a  few  colours, 
and  those  the  simplest:  red,  green,  yellow,  blue, 
black,  and  white!  It  is  the  modern  painters  who 
have  invented  the  mixtures,  that  are  so  far  removed 
from  primitive  simplicity!"  Following  the  example 
of  the  earlier  masters,  Henner  never  employed  any 
other  colours  than  the  simple  ones.  He  always 
showed  a  marked  aversion  for  mixed  tints.  His 
colours  were  always  frank  and  sincere,  even  when 
toned  down  in  order  to  avoid  glaring  and  harsh  effects. 
And  it  may  justly  be  said  of  him  that,  "even  on  his 
palette  his  colours  have  already  imprisoned  light." 

His  studies  in  Rome  did  not  make  him  forgetful 
of  his  obligations:  he  worked  very  seriously  at  his 
future  exhibits.  His  five  years'  sojourn  was  dis- 
tinguished by  five  masterpieces.  He  sent  succes- 
sively to  the  Beaux-Arts  Christ  in  Prison  and  The 
Child    with    the    Orange,  pictures  of  rare  perfection, 


HENNER  43 

each  of  which  received  the  award  of  a  medal,  and 
both  of  which  were  purchased  by  the  museum  at 
Colmar,  which  wished  to  possess  the  first  works  of 
the  young  Alsatian  artist.  The  following  year,  he 
sent  in  The  Chaste  Susannah,  now  one  of  the 
treasures  of  the  Luxembourg  Museum.  The  model 
who  posed  for  Susannah  was  named  Chiara.  She 
was  very  handsome  and  well  known  in  the  artist 
world  of  Rome,  and  possessed  an  education  much 
above  her  station.  She  exhibited  much  pride  in 
having  served  as  model  for  such  a  masterpiece. 

The  picture  was  exhibited  at  the  Salon  of  1865, 
and,  curiously  enough,  it  by  no  means  met  with  the 
success  that  it  deserved.  The  critics,  accustomed 
to  a  very  different  type  of  painting,  did  not  under- 
stand this  new  and  unfamiliar  method.  Theophile 
Gautier  was  the  only  one  who  proclaimed  its  merit. 
It  is  only  fair  to  add  that  his  opinion  was  easily  worth 
all  the  others.  "It  is  not  alone,"  he  wrote,  "the 
style   and   beauty   of  line   that   form   the   distinction 


44  HENNER 

of  this  beautiful  Jewess,  but  also  and  more  especially 
the  fine  instinct  for  colour.  This  is  no  statue  that 
is  bathing  here,  it  is  a  very  genuine  woman." 

At  this  same  Salon,  Henner  exhibited  two  por- 
traits of  superior  workmanship:  that  of  Schnets, 
director  of  the  Ecole  de  Rome,  and  that  of  M.  Joyau, 
architect  of  the  same  school. 

THE   WORKS   OF   HENNER 

In  1865,  Henner  returned  to  Paris  and  installed 
himself  in  the  house  in  the  Place  Pigalle  which  he 
occupied  during  the  rest  of  his  life.  This  house  is 
full  of  memories.  It  has  sheltered,  either  successively 
or  at  the  same  time,  many  illustrious  painters:  Jules 
and  Victor  Dupre,  Theodore  Rousseau,  Puvis  de 
Chavannes,  Boldini,  etc.  Henner  occupied  the  lower 
floor  to  begin  with,  but  later,  after  the  death  of  Pils, 
who  had  been  living  on  the  second  floor,  he  took 
the  latter's  studio,  because  the  light  was  better. 

And,  from  the  day  of  his  return  to  Paris,  Hen- 


HENNER  45 

ner  entered  upon  a  life  of  unremitting  toil  and  fecun- 
dity that  never  ceased  to  cause  astonishment.  Few 
painters  have  left  behind  them  such  a  volume  of 
productions;  his  genre  pictures,  his  landscapes  peopled 
with  nymphs  are  innumerable;  as  to  his  portraits, 
women's  portraits  especially,  it  would  require  far 
more  ample  limits  than  those  of  the  present  study 
merely  to  give  a  list  of  them.  And  what  evokes 
genuine  admiration  is  the  fact  that  it  is  impossible, 
in  the  midst  of  this  extraordinary  multiplicity  of 
widely  varied  works,  to  find  a  single  one  that  is  not 
evidently  equal  to  his  best.  And  this  is  because 
Henner,  notwithstanding  his  facility,  bestowed  an 
infinite  conscientiousness  upon  even  the  least  im- 
p>ortant  of  his  paintings.  He  regarded  it  as  dishonesty 
to  produce  merely  for  the  sake  of  producing,  or,  to 
sum  it  up  in  a  word,  to  do  fake  work. 

Indefatigable  workman  that  he  was,  Henner  allowed 
himself  few  diversions;  his  life  was  as  strictly  ordered 
as  that  of  a  monk.     Always  an  early  riser,  he  devoted 


46  HENNER 

his  mornings  to  his  landscapes  and  genre  paintings, 
and  his  afternoons  to  his  portraits.  From  four  until 
seven  he  was  in  the  habit  of  receiving  a  few  friends 
or  would  bury  himself  in  a  book,  for  he  was  a  great 
reader.  It  was  an  exceptional  thing  for  him  to  dine 
away  from  home,  and  when  he  went  out  it  was  always 
for  the  purpose  of  visiting  the  Louvre  or  some  exhibit 
of  paintings.  As  a  matter  of  fact,  he  was  never 
happy  away  from  his  studio,  that  celebrated  studio 
which  he  had  fitted  up  with  so  much  taste  and  mag- 
nificence. It  was  there,  in  that  artistic  and  sumptu- 
ous setting,  that  he  executed  those  innumerable 
works,  whose  magnificent  flowering  we  are  about  to 
follow,  year  by  year.  It  will  be  impossible  for  us  to 
cite  them  all;  we  must  content  ourselves  with  calling 
attention  only  to  the  more  remarkable. 

In  1865,  Henner  exhibited  his  Biblis  metamor- 
phosed into  a  Spring,  one  of  his  most  beautiful  paint- 
ings. In  the  midst  of  a  sombre  landscape,  the  dazzling 
nudity  of  the  nymph  forms  a  luminous  spot,  but  the 


HENNER  47 

contrasting  tones  harmonize  in  a  sort  of  fine  and 
golden  atmosphere,  blending  into  the  profound  green 
of  the  foliage,  the  porcelain  blue  of  the  sky,  and  the 
resplendent  whiteness  of  the  flesh.  And  what  sim- 
plicity of  means  he  has  used  to  produce  this  result! 
Henner  had  profited  from  the  lessons  of  the  great 
masters;    and  he  was  never  to  forget  them. 

The  following  year  came  his  Study  of  a  Young 
Girl.  This  time  it  was  no  longer  under  leafy  canopies 
that  the  painter  chose  to  place  his  model,  but  in 
the  presence  of  the  immensity  of  the  blue  sea.  The 
success  of  this  painting  was  very  marked  and  it  earned 
the  artist  a  medal  of  the  first  class.  But  the  painter 
himself  was  as  severe  towards  his  own  work  as  the 
critics  had  been  flattering;  he  was  not  satisfied  with 
it,  and  when  the  canvas  was  once  again  back  in  his 
studio,  he  destroyed  it.  What  a  pity  that  such  a 
work  should  have  been  lost,  but  also  what  a  fine 
example,  and  what  a  rare  one,  of  professional  con- 
scientiousness and  integrity! 


48  HENNER 

The  work  exhibited  the  following  year  suffered 
the  same  fate.  In  one  of  those  crises  of  discontent 
which  Henner,  always  severe  towards  himself,  fre- 
quently passed  through,  he  once  again  ripped  up  his 
own  work,  the  charming  painting  known  as  The 
Toilet,  which  nevertheless  had  received  nothing  but 
praise  while  at  the  Salon. 

The  public,  by  which  I  mean  the  enlightened 
public,  had  now  come  to  appreciate  the  talent  of  the 
young  artist.  His  reputation  was  established,  and 
orders  began  to  come  in.  Not  that  he  had  yet  ac- 
quired that  world-wide  celebrity  which  was  destined 
to  come  later,  but  people  were  beginning  to  under- 
stand the  originality  of  his  art,  which  at  first  had 
provoked  so  much  discussion. 

Besides,  Henner  was  too  passionately  devoted  to 
his  art  to  concern  himself  about  money.  He  always 
showed  the  greatest  disinterestedness.  Prosperity 
came  to  him,  ample  prosperity,  but  he  did  not  seek  it. 
It  was  the  natural  recompense  of  this  amazing  work- 


PLATE   VI.  — THE   COMTESSE   DIANE 
(Luxembourg  Museum) 

This  fine  portrait  of  the  Comtesse  Diane  (Mme.  de  Beausacq)  was 
executed  by  Henner  at  the  request  of  the  poet,  Sully-Prudhomme, 
and  bequeathed  to  the  Louvre.  But  it  was  necessary  that  it  should 
first  remain  for  the  prescribed  period  in  the  Luxembourg,  since  no 
picture  may  be  admitted  into  the  Louvre  until  ten  years  after  the 
death  of  its  author. 


HENNER  51 

man,  happily  supplemented  by  the  most  extraordi- 
nary powers  of  production.  There  were  instances 
when  he  produced  in  the  space  of  a  few  hours  pictures 
that  he  sold  for  twenty-five  and  thirty  thousand 
francs. 

Wealth,  however,  did  not  in  any  way  modify 
either  his  habits  or  his  character.  He  remained 
throughout  his  life  just  as  simple,  just  as  gentle,  and 
just  as  laborious.  This  is  perhaps  the  right  moment 
at  which  to  quote  the  charming  word-portrait  of  this 
good  and  kindly  man,  drawn  by  M.  Claude  Vento, 
who  knew  him  well: 

"If,  by  his  nature  as  well  as  by  the  vigour  of  his 
genius,  Henner  deserves  to  be  compared  to  the  Mas- 
ters of  the  past,  his  very  physique  suggests  that  he 
is  a  reincarnation  of  some  one  of  those  great  artists 
of  the  Renaissance,  whose  mould  had  seemingly  been 
broken.  Robust,  squarely  built,  broad  of  shoulder, 
with  energetic  head  planted  on  a  rather  stout  neck, 
a  countenance  strong  yet  gentle,  with  features  strongly 


52  HENNER 

marked,  and  hair  surmounted  by  a  black  velvet  cap, 
does  not  Henner  as  a  matter  of  fact,  clad  in  his  velvet 
jacket  over  a  flannel  shirt,  remind  us  of  the  portrait 
of  Holbein  who  was  his  first  inspiration?  His  whole 
personality  bears  the  stamp  of  frankness  and  of  kindli- 
ness, a  kindliness  possessing  a  rather  rough  exterior, 
but  actually  very  rare  in  quality,  as  you  may  see  in 
the  depths  of  his  pale  blue  eyes,  as  limpid  and  clear 
as  the  eyes  of  a  little  child.  There  is  an  element 
of  naivete  in  his  sincere  face,  through  which,  how- 
ever, a  deep  shrewdness  penetrates,  a  kindliness 
that  is  not  free  from  mockery,  when  his  alert  wit 
detects  insincerity,  whereupon,  behind  a  mocking 
smile,  irony  leaps  to  his  lips,  like  fine  and  delicate 
arrows,  but  all  the  more  stinging  for  that.  But  this 
is  not  customary.  Although,  like  all  men  who  have 
had  to  struggle,  Henner  is  not  readily  expansive  and 
guards  himself  from  the  importunate,  by  his  some- 
what cold  manner,  what  a  hearty  hand-grasp,  loyal 
and  true,  for  his  real  friends,  what  a  reassuring  smile. 


HENNER  53 

lighting  up  his  virile  features,  when  sympathy  knocks 
at  his  door!  With  what  unceremonious  cordiality 
he  comes  in  person  to  answer  the  bell  and  open  the 
door  of  his  studio  to  the  expected  visitor!  As  a 
usual  rule,  Henner  talks  but  little.  He  listens  more 
than  he  talks,  and  is  naturally  given  to  reflection. 
But  whatever  he  says  is  to  the  point  and  is  well 
worth  listening  to.  If  in  his  presence  the  con- 
versation chances  to  turn  upon  art  or  literature 
or  any  other  lofty  subject,  but  more  especially  art, 
then  the  passion  latent  in  him  all  of  a  sudden 
bursts  forth  and  reveals  itself,  just  as  a  fire  sud- 
denly blazes  up  from  beneath  a  pile  of  ashes,  and 
all  the  more  violently  because  it  has  been  so  long 
smouldering.  At  such  times  his  language  is  vivid, 
highly  coloured,  vigorous,  and  full  of  conviction. 
The  words  come  to  his  lips  without  effort  and  flow 
in  a  rapid  stream.  And  the  listener  realizes  that 
he  is  in  the  presence  of  a  truthful  nature,  ardent 
and    resolute,    a    conscientious    judge    and    a    great 


54  HENNER 

artist,  whose  enthusiasms  are  sincere  and  whose  will 
is  strong  and  tenacious." 

Here  we  have  the  complete  picture  of  the  man, 
discreet,  laborious,  modest,  an  enemy  of  noise  and 
notoriety,  and  revealing  himself  to  the  public  only 
through  his  signature  unfailingly  appended  to  the 
lower  margin  of  his  immortal  canvases. 

The  series  of  them  is  imposing.  At  the  Exposi- 
tion of  1867,  Henner  was  represented  by  The  Chaste 
Susannah,  The  Young  Bather  Asleep,  The  Reclining 
Woman,  an  admirable  masterpiece  now  in  the  col- 
lection of  the  Mulhouse  museum,  and  seven  por- 
traits which  bore  witness  to  the  artist's  prodigious 
fecundity  and  to  the  infinite  variety  of  his  talent. 

In  1869,  he  exhibited  only  two  paintings  at  the 
Salon,  but  they  were  two  gems:  The  Woman  on  the 
Black  Divan,  whose  nudity  contrasts  in  dazzling 
fashion  with  the  sombre  setting  of  the  velvet  couch 
on  which  she  reposes;  and  The  Little  Writer,  a  charm- 
ing portrait  of  a  child,  who  happens  to  be  the  artist's 


HENNER  55 

own  nephew,  diligently  bending  over  his  desk.  A 
reproduction  of  this  latter  picture  will  be  found  among 
the  plates  of  the  present  study. 

The  following  year,  in  1870,  The  Alsatian  Woman 
was  exhibited  at  the  Salon.  It  was  a  personification 
of  his  native  land,  Alsace,  that  he  loved  so  dearly, 
and  that  he  represented  in  this  picture  in  the  form  of 
a  vigorous  peasant  woman  with  a  jovial  face,  who 
carries  a  basket  filled  with  apples,  symbolic  of  abun- 
dance and  happiness.  At  that  time,  the  storm  had 
not  burst  over  that  ill-fated  land;  and  there  was 
nothing  to  cause  him  to  foresee  it;  the  Alsatian 
woman  is  laughing  and  untroubled,  unaware  of  her 
terrible  destiny. 

What  a  contrast  was  afforded  by  his  next  work, 
Alsace,  which  the  misfortunes  of  France  inspired  the 
ardently  French  and  Alsatian  soul  of  the  artist  to 
produce!  What  emotion  emanates  from  the  woman 
clad  in  mourning,  whose  features  bear  the  traces  of 
the  grief  she  has  suffered  and  of  the  mutilation  that 


56  HENNER 

has  taken  place!  Nevertheless,  ravaged  as  it  is  by 
sorrow,  her  face  still  radiates  a  serene  pride  and  an 
unquenchable  hope:  the  hope  of  a  triumphal  revenge 
and  of  the  return  of  France.  Henner,  alas,  died 
without  having  seen  the  fulfilment  of  the  miracle 
awaited  by  him  with  so  much  fervour.  It  is  easy  to 
imagine  the  success  which  greeted  this  picture  at 
the  Salon  of  1871.  Stirred  to  their  inmost  soul,  the 
visitors  piously  took  off  their  hats  and  felt  a  wave  of 
the  artist's  patriotic  fire  pass  through  them.  Gam- 
betta  desired  to  see  the  painting,  was  delighted  with 
it,  and  promptly  purchased  it. 

After  the  war,  Henner  continued,  as  previously, 
to  pass  his  annual  vacations  at  Bemwiller;  he  could 
not  bring  himself  to  dispense  wholly  with  his  native 
air;  and  yet  what  sadness  was  now  entailed  in  return- 
ing home,  and  how  changed  and  wretched  he  found 
it  under  the  suspicious  and  harassing  administration 
of  the  conquerors!  None  the  less  he  could  still 
revisit  the  companions  of  his  childhood,  his  brothers 


HENNER  57 

and  his  nephews,  whom  he  deHghted  to  receive  at 
all  hours  in  the  pretty  little  brick  house  that  he  had 
had  built  on  the  family  property. 

In  1872  he  exhibited  The  Idyll;  it  proved  to  be 
the  biggest  success  that  he  had  yet  achieved.  Two 
nymphs  are  beside  a  fountain,  as  night  descends;  one 
of  the  two  is  playing  on  a  flute,  the  other  with  one 
hand  resting  on  her  hip,  as  she  leans  with  her  other 
on  the  fountain  rim,  listening.  Both  are  nude,  with 
that  warm,  vibrant  nudity  that  awakens  memories 
of  the  flesh  of  Giorgione's  women,  in  his  Rural  Con- 
cert, and  both  are  enveloped  in  the  waves  of  their 
tawny  tresses. 

This  magnificent  painting  earned  Henner  a  medal 
of  honour  which  was  bestowed  upon  him  by  accla- 
mation. It  is  at  present  in  the  Museum  of  the  Lux- 
embourg, where  it  forms  one  of  the  most  valued 
treasures. 

To  1874  belong  The  Good  Samaritan,  also  now 
in  the  Luxembourg,  and  The  Magdalen  in  the  Desert, 


S8  HENNER 

which  belongs  to  the  museum  of  Toulouse.  These 
two  pictures,  following  such  a  long  succession  of 
successful  canvases,  earned  Henner  the  Legion  of 
Honour.  The  modest  artist  was  profoundly  touched 
by  this  distinction,  which  nevertheless  he  so  well 
merited. 

The  following  year,  Henner  exhibited  The  Naiad. 
The  nymph,  quite  nude,  is  lying,  with  one  leg  ex- 
tended, the  other  partly  flexed,  upon  the  grass,  beside 
a  stream  in  which  the  azure  of  the  sky  is  mirrored. 
She  leans  her  head  upon  her  upraised  left  arm,  and 
her  hair  full  of  golden  gleams  forms  a  diadem  of  ful- 
vous light  around  her.  The  voluptuous  mouth  is  half 
open  and  the  eyes  have  a  hint  of  caresses  floating 
in  their  liquid  depths.  The  transparent  whiteness 
of  the  flesh  seems  to  sink  into  the  soft  carpeting  of 
dense  verdure,  while  under  the  massive  density  of 
the  great  trees  a  discreet  and  subtle  light  penetrates 
the  entire  landscape,  softening  the  shadows,  refin- 
ing the  atmosphere,  and  caressing  with  its  soft  radi- 


PLATE   VII.  — A    NAIAD 

(Luxembourg  Museum) 


This  is  one  of  the  most  beautiful  of  Henner's  paintings.  What 
grace  there  is  in  the  outstretched  body,  what  suppleness  and 
vigour  in  those  long  and  slender  limbs,  how  much  beauty  in  the 
face,  and  what  a  voluptuous  abandonment  throughout  that  white 
and  amber  body  in  its  entirety!  The  luminous  and  profound 
landscape  give  an  admirable  impression  of  a  warm  and  peaceful 
twilight. 


HENNER  61 

ance  the  beautiful  outstretched  body  of  the  naiad. 
It  was  once  again  the  Luxembourg  that  secured 
possession  of  this  incomparable  work. 

In  1876,  Henner  essayed  an  entirely  different 
subject,  and  a  much  severer  one,  which  he  never- 
theless treated  without  in  any  way  modifying  his 
manner:  The  Dead  Christ.  Always  an  earnest 
Christian,  Henner  loved  religious  subjects  and  he 
bestowed  upon  those  that  he  painted  all  his  artistic 
power  and  all  the  fervour  of  his  faith.  In  this 
picture,  he  has  proved  himself  the  equal  of  the 
greatest  masters,  and  he  need  have  no  fear  of 
challenging  comparison  with  the  most  illustrious 
interpreters   of  the   Crucifixion. 

There  is  still  another  subject  of  a  religious  nature 
that  Henner  undertook  the  following  year:  The 
Head  of  St.  John  the  Baptist,  a  work  of  striking 
realism.  At  the  same  Salon,  that  of  1877,  he  also 
exhibited  a  pagan  subject,  Evening,  representing  a 
woman    couched    upon    the    grass    and    viewed    from 


62  HENNER 

behind,  completely  enveloped  in  the  masses  of  her 
red-gold  hair. 

Next  came  The  Naiads,  whose  sculpture-like  sil- 
houettes are  profiled  against  the  silvered  background 
of  a  superbly  lighted  landscape.  It  was  this  canvas 
which  inspired  Armand  Sylvestre  to  write  a  very 
charming  poem,  in  which  the  following  lines  are 
included: 

By  dreaming  waters  under  sleeping  skies, 

Where  nature's  bowl  entraps  the  widening  stream, 

A  troupe  of  naiads,  hid  from  mortal  eyes, 

Toss  to  the  breeze  their  tresses'  golden  sheen. 

At  the  Salon  of  1878,  Henner  was  represented  by 
several  pictures.  To  begin  with,  there  was  Holbein's 
Wife  and  Children,  the  artist's  tribute  to  the  memory 
of  the  by-gone  master  who  had  been  the  source  of  his 
first  enthusiasm  and  first  inspiration:  furthermore. 
The  Young  Girl  in  Black  and  The  Lady  with  the 
Umbrella. 


HENNER  63 

In  1879  came  The  Eclogue,  a  composition  of  classic 
harmony  and  beauty.  With  elbows  leaning  on  the 
margin  of  a  well,  a  nymph  of  resplendent  beauty 
stands  upright  in  an  attitude  of  reverie.  In  front 
of  her,  a  companion  is  bending  over  the  mirror-like 
surface  of  a  stream  which  crosses  the  landscape, 
and  her  glowing  hair  envelops  her  wholly,  like  a 
mantle  of  gold.  The  sombre  verdure  of  the 
great  trees  emphasizes  the  dazzling  whiteness  of  the 
two  female  forms;  above  and  beyond  the  foliage, 
a  glimpse  of  blue  sky  adds  its  glad  and  luminous 
note. 

We  must  not  forget  The  Magdalen,  which  was 
the  most  widely  discussed  work  exhibited  at  this 
Salon.  The  subject  was  one  of  which  the  artist  was 
especially  fond;  he  treated  it  a  number  of  times,  and 
it  almost  seemed  as  though  he  wanted  to  prove  the 
variability  of  a  brush  that  never  repeated  itself  and 
of  a  talent  that  was  continually  renewed.  This 
time  the  penitent  of  the  Gospel  story  is  crouching 


64  HENNER 

in  the  entrance  to  a  cave,  in  an  attitude  of  prayer. 
In  the  half  shadow  cast  by  the  overhanging  rock, 
the  body  of  the  Magdalen  radiates  brightness,  while 
ripples  of  light  shimmer  through  her  golden  tresses. 
This  beautiful  picture  is  to  be  seen  to-day  in  the 
Petit  Palais,  in  the  room  reserved  for  the  works  of 
Henner. 

Each  succeeding  year  now  brought  new  master- 
pieces and  new  triumphs.  Two  paintings  were  shown 
in  the  Salon  of  1880:  Sleep  and  The  Fountain.  The 
first  of  these  represents  a  young  girl,  almost  a  child, 
sunken  in  profound  sleep.  Around  the  face,  in  its 
golden  frame  of  hair,  the  artist  has  diffused  an  aureole 
of  peace,  candour,  and  innocence  which  brings  to 
mind  some  legendary  saint.  Rarely  has  the  artist 
achieved  such  perfection  of  line  and  such  beauty 
of  expression.  The  painting  was  purchased  by  the 
Prince  de  Broglie. 

In  The  Fountain  we  behold  a  woman,  beautiful 
with   the   beauty   of  red   gold,   like   all  of  Henner's 


HENNER  65 

women.  She  is  resting  her  hand  upon  the  margin 
of  a  well,  and  seems  to  be  gazing  at  her  own  reflec- 
tion in  the  water. 

This  same  Salon  also  includes  Andromeda  in 
Chains,  which  belongs  to-day  to  Mme.  Raffalowitz. 

From  time  to  time  Henner  reverted  to  religious 
paintings,  for  which,  after  the  fashion  of  the  great 
masters  of  the  past,  he  always  retained  a  marked 
fondness.  Thus  it  happened  that  he  exhibited  at 
the  Salon  of  1881  a  St.  Jerome y  a  subject  all  the  more 
venturesome  to  paint  because  many  of  the  most 
illustrious  artists,  such  as  Diirer,  Tintoretto,  and 
Veronese,  had  treated  it  before  him.  Yet  Henner 
might  well  challenge  comparison  with  these  redoubtable 
predecessors,  and  this  picture,  now  in  the  Luxem- 
bourg, is  numbered  among  his  best. 

The  Spring,  which  figured  at  the  same  Salon, 
inevitably  challenges  comparison  with  the  same  sub- 
ject formerly  treated  by  Ingres.  Employing  wholly 
different  means,  Henner  achieved  the  same  degree  of 


66  HENNER 

perfection  as  that  attained  by  the  illustrious  author 
of  The  Odalisque.  In  Ingres'  picture  of  The  Spring, 
the  flesh  of  the  young  girl  has  the  freshness  of  some 
delicate  and  fragile  fruit;  in  that  of  Henner's,  it  has 
the  velvety  savour  of  a  fruit  that  is  fully  ripe.  Both 
paintings  show  the  same  masterly  science  of  line- 
work,  the  same  impeccable  sureness  of  execution,  and 
also  the  same  profound  sense  of  virginal  chastity  in 
the  nude.  Henner's  Spring  was  purchased  by  an 
American  for  eleven  thousand  dollars  (55,000  francs). 
This  is  one  of  the  highest  prices  ever  paid  for  the 
work  of  a  living  painter. 

In  1882  came  Bara,  of  which  we  give  a  reproduc- 
tion in  the  present  volume,  and  which  is  now  to  be 
seen  in  the  Petit  Palais.  This  was  still  another  sub- 
ject which  had  been  previously  treated,  and  by  no 
less  a  master  than  David !  Both  painters  were  equally 
felicitous  in  rendering  the  charming  youthfulness 
of  the  small  hero  who  fell  so  gloriously  for  his 
country.     A  comparison  of  the  two  works  is  all  the 


HENNER  67 

more  pleasurable  because  one  discovers  that,  how- 
ever dissimilar  they  may  be,  they  express  the  same 
appreciation  of  classic  beauty  and  the  same  rever- 
ence for  form. 

In  1883  we  have  The  Woman  Reading,  a  dazzling 
poem  in  blond  flesh  that  brings  to  mind  Correggio's 
Magdalen  Reading,  now  contained  in  the  Munich  col- 
lection. In  contrast  with  the  opulence  of  the  above 
portrait,  we  have  next  a  countenance  of  remarkable  gen- 
tleness, ideal  in  its  expression  of  purity,  in  the  picture 
entitled  The  Nun.  She  is  quite  young  and  quite 
fair,  and  she  is  kneeling  upon  the  pavement  in  prayer, 
while  her  pale  girlish  face  emerges  from  the  sombre 
frame  of  her  black  garb,  like  an  immaculate  lily 
overgrown  with  weeds.  This  time  Henner  had  sur- 
passed himself;  he  had  interpreted  with  inimitable 
strokes  the  beauty  of  renunciation  and  the  purity  of 
an  ecstatic  life. 

This  Salon  was  one  of  the  most  glorious  that  the 
great  artist  ever  knew. 


68  HENNER 

Nevertheless,  it  was  the  very  next  year  that  he 
exhibited  The  Weeping  Nymph,  his  magnificent 
nymph  prostrate  upon  the  ground,  sobbing  with  her 
face  in  her  hands  and  her  whole  body  writhing  with 
anguish.  After  this  came  Fabiola,  that  superb,  virgin 
profile  crowned  with  a  red  cap,  which  the  engraver's 
art  has  spread  throughout  the  world  in  the  form  of 
millions  of  reprints,  until  its  renown  is  universal. 

In  1886,  some  more  Nymphs  and  The  Orphan 
Girl,  treated  in  the  same  manner  as  Fabiola,  and 
forming  in  a  certain  sense  a  companion  piece. 

Then  came  The  Creole,  a  fascinating  woman's 
head,  done  in  warm  flesh  tones,  amber- tinted,  keenly 
alive;  a  picture  which  the  State  promptly  acquired. 
Then,  next  in  order,  Herodiade,  a  young  girl  of  fifteen, 
or  thereabouts,  clad  in  a  clinging  scarlet  tunic,  her 
black  eyes  gleaming  with  a  fathomless  light. 

We  need  not  go  further  with  our  catalogue  of 
Henner's  works;  it  would  only  necessitate  a  continual 
repetition  of  the  same  praises  and  monotonous  descrip- 


PLATE   VIII.— THE   MAGDALEN   WITH   THE   CRUCIFIX 
(Petit  Palais  des  Beaux-Arts) 

This  is  a  subject  which  Henner  treated  several  times.  The  Mag- 
dalen here  reproduced  is,  beyond  all  else,  a  beautiful  and  robust 
creature,  whose  repentance  finds  little  testimony  in  her  features 
that  are  barely  clouded  by  a  faint  shadow  of  melancholy.  Yet  it  is 
difficult  to  conceive  of  a  more  delicious  study  of  a  woman. 


HENNER  71 

tions  of  pictures  that  the  whole  world  knows,  at  least 
from  the  engravings  of  them.  Up  to  the  end  of  his 
life,  the  artist  continued  to  make  regular  and  method- 
ical progress;  up  to  the  end,  his  talent  preserved 
its  vigour  and  its  youth.  It  even  seems  as  though 
in  his  latest  works  his  light  had  acquired  more  trans- 
parency, his  foliage  a  more  vibrant  warmth,  his 
flesh  tones  a  more  dazzling  splendour. 

In  the  course  of  time,  his  success  had  increased, 
his  reputation  had  become  world-wide.  Americans 
outbid  one  another  for  his  pictures,  and  purchased 
them  at  fabulous  prices.  And  together  with  wealth 
came  honours.  I  mean  the  only  kind  of  honours 
that  would  have  been  welcomed  by  this  modest 
and  laborious  artist,  who  sought  neither  the  hubbub 
of  vulgar  notoriety,  nor  the  glitter  of  official 
functions. 

But,  with  his  passionate  devotion  to  painting, 
which  had  formed  the  one  ideal  of  his  life,  he  was  not 
displeased    to    see   honour   paid,    through   himself    as 


72  HENNER 

the  medium,  to  an  art  that  he  had  constantly  striven 
to  practise  with  the  utmost  dignity  and  the  pro- 
foundest  love.  With  undisguised  gladness  he  ac- 
cepted the  successive  decorations  bestowed  upon  him 
in  the  Order  of  the  Legion  of  Honour.  And  the  son 
of  the  Bernwiller  gardener  experienced  quite  a  legiti- 
mate pride  when  the  unanimous  appreciation  of  his 
peers  opened  the  doors  of  the  Institute  to  him. 

THE    PORTRAIT   PAINTER 

It  is  impossible  to  speak  of  Henner,  and  yet  pass 
over  in  silence  his  success  as  a  portrait  painter,  in 
which  capacity  he  was  equal,  if  not  superior,  to  the 
painter  of  nymphs  and  Magdalens. 

In  his  portrait  work  Henner  was  first  of  all  the 
portrayer  of  women,  as  indeed,  throughout  his  life, 
he  had  been  in  all  his  paintings. 

There  was  no  dearth  of  models.  They  came 
to  him  in  throngs,  and  his  studio  in  the  Place  Pig- 
alle  witnessed  a  procession  of  the  most  magnificent 


HENNER  73 

beauties  of  France  and  the  world  at  large.  Henner, 
however,  was  never  a  flattering  portrait  painter,  nor 
even  a  complaisant  one.  He  had  too  much  respect 
for  himself  and  for  his  art  to  trade  upon  his  profes- 
sional integrity;  he  was  too  fervent  a  worshipper  of 
nature  to  distort  it,  or  even  to  paraphrase  it.  His 
portraits  are  literally  portraits,  in  the  highest  sense 
of  the  word;  I  mean  that  they  are  faithful  copies  of 
the  person  represented,  and  that  no  trace  of  adulation 
could  be  found  in  a  single  one  of  them.  But  he 
excelled  in  extracting  from  the  physiognomy  of  his 
model  that  one  intimate  note  which  each  one  of  us 
conceals  within  himself,  and  that  is  now  and  then 
betrayed  upon  our  features  in  a  fugitive  yet  un- 
mistakable gleam.  It  is  this  hidden  note,  this  inner 
flame,  this  latent  nobility,  this  moral  beauty  which 
Henner  had  the  peculiar  gift  of  divining  and 
interpreting. 

Is  it  at  all  surprising,  with  such  advantages,  that 
Henner's  portraits  are  of  such  superior  workmanship 


74  HENNER 

that  they  are  almost  always  masterpieces?  Unfor- 
tunately, it  is  impossible  here  to  enter  upon  an  ex- 
tensive study  of  Henner  the  portrait  painter;  we 
must  content  ourselves  with  citing  the  most  cele- 
brated of  his  portraits  of  women:  Mme.  Paul  Dubois, 
Mme.  Bonard,  Mme.  Sedille,  a  charming  countenance, 
seen  full-face,  the  black  shawl  throwing  her  rich  beauty 
into  relief;  Mme.  Jules  Ferry,  Mme.  Scheurer-Kestner, 
Mme.  Charles  Hayem,  Mme.  Koechlin-Schwartz,  Mile. 
Formige,  Mme.  Pasteur  and  Mile.  Pasteur,  the  mag- 
nificent portrait  of  Miss  Eldin,  whose  regal  blond 
beauty  is  framed  in  a  bewitching  Gainsborough  hat; 
Mile.  Marcille,  Mile.  Mosenthal,  Mile.  Sedille,  Mile. 
Gentien,  an  admirable  symphony  of  black  tones,  in 
which  all  the  accessories,  the  gloves  and  fan,  are  of 
sombre  colour;  this  portrait  is  one  of  Henner's  best; 
Mme.  Eumont,  whose  black  garments  form  a  curious 
contrast  to  her  powdered  hair;  then,  three  master- 
pieces: the  portraits  of  the  three  daughters  of  Mme. 
Forges,  and  also  that  of  Mme.  Forges  herself  with  her 


HENNER  75 

youngest  child;  the  Comtesse  d'Ideville,  whose  red 
robe  forms  a  warm  and  luminous  contrast  to  the  som- 
bre background  of  the  picture ;  Her  Imperial  Highness, 
the  Countess  of  Eu,  daughter  of  Dom  Pedro,  Emperor 
of  Brazil;  the  Princesse  de  Broglie,  nee  Say,  daughter 
of  the  millionaire  refiner;  Mme.  Foumier-Sarleveze,  a 
fascinating  woman,  who  died  prematurely;  Mme.  Raf- 
falowitz,  Mme.  Oulman,  Mme.  Henry  Fouquier,  and 
her  charming  daughter,  Mile.  Fouquier,  Mme.  Rod- 
rigues.  Mile.  Leroux,  Mile,  de  Morell,  Mme.  Fougere- 
Dubourg,  Mme.  Kutner;  Mme.  Daniel  Dollfus, 
portrayed  standing;  the  Marquise  de  Mosges;  Mme. 
Hippolyte  Adam;  Mme.  de  Rute,  Mme.  Jules  Siegfried, 
Mme.  Duplay,  Mme.  Fabre,  Mme.  Peltreau,  the  Baron- 
ess Brincard;  Mile.  Hoschede;  Mile.  Chanzy,  Mile. 
Femande  Dubourg;  Mme.  Herzog,  Mme.  Silhal,  Mme. 
Brossard,  Mme.  Loreau,  Mme.  de  Crepy,  Mme.  Ra- 
phael, Mme.  Jules  Walfrey,  Mme.  Charras,  Mme. 
Marochetti,  Mme.  Diemer,  Mme.  Carmian,  Mme. 
Monthier,  in  black  and  with  black  drapery  over  her 


76  HENNER 

shoulders,  Mme.  de  Beausacq  (the  Comtesse  Diane),  a 
beautiful  portrait  of  which  we  give  a  reproduction; 
this  portrait  was  executed  by  Henner  at  the  request 
of  SuUy-Prudhomme  and  bequeathed  to  the  Louvre; 
but  it  has  not  yet  been  transferred  to  that  great 
national  museum;  it  is  still  in  the  Luxembourg,  and  is 
regarded  as  one  of  its  choicest  treasures. 

Furthermore,  mention  should  be  made  of  Mile. 
Valentine  Edmond  About,  Mile.  Brincard,  Mme.  Jules 
Claretie,  the  Comtesse  Kessler,  one  of  the  master's 

most  successful  portraits  and  one  that  he  obtained  from 

» 

a  single  sitting;  Mme.  Shopey,  a  fascinating  Creole 
from  the  island  of  Bourbon,  whose  profile  has  an  ideal 
beauty  that  inspired  Henner  to  produce  a  veritable  mas- 
terpiece; he  was  no  less  successful  in  portraying  Mme. 
Noetzlin,  another  exquisite  exotic  beauty,  whose  lan- 
guid indolence  and  captivating  charm  he  has  rendered 
with  infinite  vigour  and  grace. 

But  one  of  his  most  beautiful  portraits  is  that  of 
Mme.  Karekehia,  the  mother  of  Nubar  Pacha,  who, 


HENNER  77 

although  quite  advanced  in  age,  is  represented  in 
a  charming  pose  that  emphasizes  her  natural  attrac- 
tions. Nowhere  else  perhaps  did  Henner  rise  to  such 
a  height,  or  obtain  such  a  degree  of  truth  in  his  inter- 
pretation of  a  human  physiognomy. 

And  how  many  other  portraits  there  are,  equally 
beautiful,  equally  powerful,  if  only  we  might  cite 
them  all! 

Painter  of  women  though  he  was,  Henner  did 
not  refuse  as  a  settled  policy  to  paint  men,  but  it 
was  difficult  to  make  up  his  mind  to  do  so.  Not 
that  he  showed  less  ability  in  his  portraiture  of  men. 
It  was  simply  that  it  cost  him  something  to  renounce, 
even  temporarily,  the  culte  of  feminine  beauty,  to 
which  he  had  dedicated  himself.  He  loved  to  make 
rays  of  light  play  harmoniously  over  blond  flesh, 
over  silken  fabrics,  over  draperies;  and  the  uniformity 
of  masculine  garments  does  not  lend  itself  to  this 
sort  of  magic.  None  the  less,  he  produced  a  few 
portraits   of  men    which    are    absolutely   remarkable; 


78  HENNER 

portraits  of  personal  friends,  for  the  most  part,  which 
he  painted  with  a  solicitude  that  makes  itself  felt: 
such  are  the  portraits  of  Jules  Claretie,  of  Dr.  Leroy, 
of  the  painter  Parrot,  of  the  sculptor  Paul  Dubois, 
the  poet  Sully-Prudhomme,  of  the  publisher  Georges 
Charpentier,  of  General  Chanzy.  Henner  also  painted 
a  little  portrait  of  Pasteur,  which  was  never  shown 
at  the  Salon,  but  is  nevertheless  one  of  the  most 
keenly  alive  and  most  perfect  of  his  works. 

It  would  also  be  only  fitting  to  consider  Henner's 
work  from  the  particular  point  of  view  of  landscape 
painting  which  occupies  so  large  a  place  in  his  pictures; 
but  the  circumscribed  space  of  the  present  study 
does  not  permit  of  this. 

Henner  aged  peacefully  in  the  tranquillity  of  his 
studio  and  the  harmonious  regularity  of  an  existence 
consecrated  to  labour  and  to  art.  In  1900,  at  the 
time  of  the  Universal  Exposition,  he  obtained  one 
of  the  four  grand  prizes  bestowed  by  the  judges  upon 
the  greatest  artists. 


HENNER  79 

In  this  life  of  Henner's,  unmarked  by  any  extraor- 
dinary event,  everything  is  as  limpid  and  as  clear 
as  a  woodland  spring  whose  transparent  waters  flow 
peacefully,  slipping  noiselessly  under  cover  of  the 
moss.  Until  the  end,  Henner  retained  his  modesty, 
his  natural  simplicity,  his  aversion  to  notoriety; 
and  when  in  1905  he  died,  there  was  no  dissenting 
voice  in  the  general  praise  of  his  character  and  his 
talent. 

Henner  possessed  the  rare  privilege,  not  of  having 
created  a  type,  but  of  having  left  upon  contempo- 
rary art  the  imprint  of  his  powerful  personality.  We 
are  also  in  debt  to  him  for  a  return  to  the  dignity  of 
the  great  classic  types,  to  a  beauty  of  form  achieved 
in  accordance  with  an  original  and  rejuvenated  con- 
ception. Like  Puvis  de  Chavannes,  he  has  taught 
us  to  appreciate  the  majestic  harmony  of  antique 
composition,  and  also,  like  him,  he  has  given  us  an 
example  of  a  richness  of  colour  carried  to  the  culmi- 
nating point  by  the  simplest  of  means.     Steeped  in 


8o  HENNER 

classicism  beneath  its  brilliant  exterior,  grounded  on 
a  mastery  of  line-work,  underneath  the  gleaming 
colours,  Henner's  art  has  broken  down  all  opposi- 
tion, silenced  all  criticism,  and  evoked  universal 
admiration  because  it  unites  these  two  masterly- 
qualities  which  form  the  basis  of  imperishable  paint- 
ing:   conscientiousness  and  genius. 


UNIVERSITY  OF  CALIFORNIA.  LOS  ANGELES 

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